symbol and excavate connections on a micro and macro level to reveal all facets of the work. In Myth, an unstable image of the cross —from crutches, to a weapon, to a crucifix— emphasizes the overarching theme that nothing is fixed. Cherkaoui’s productions offer fertile ground, porous enough to inject one’s own subjectivity into the meaning-making process, shifting between viewing and research. Those who have not seen his work may be inspired to see it live, and Uytterhoeven’s book may prompt a re-examination by those who have seen his productions. The reader is encouraged to contemplate the act of performance: What lives in the moment and what lives outside the body in mnemonic devices? How do they inform one another? Athough Uytterhoeven does not speak often about her visceral experiences of watching, she reflected: “I realised that I had no means of accounting for the strong affective, physical responses I felt to the powerful sections of the performance” (114). Is there a power in live performance that resides in the body and cannot be translated? Both writer and choreographer are utopian in their visions. For Uytterhoeven, the continued dramaturgy that happens after performance leads to cross-cultural conversations and possible shifts in perspective, engaging with Marianne Van Kerkhoeven’s “Grote Dramaturgie” (69), whereas Cherkaoui perceives movement as a universal language that possesses the ability to bring people together literally and figuratively. Uytterhoeven perceives movement as embedded in a cultural point of view (147). Chapter 3 elucidates problems with the idea of the universality of movement and transculturality in zero degrees and Sutra (2008). In both pieces Cherkaoui choreographs the physicalization of difference even as he tries to dance like the “Other.” In Babel (co-choreographed with Damien Jalet in 2010), spoken languages separate people, while movement unites them. Uytterhoeven explains, “For Cherkaoui and Jalet, people from diverse cultures can be connected through dance and bodywork as a transcultural act, which they propose are an antidote to conflict and misunderstanding as a result of language confusion” (203). The reader is left to ponder the properties of movement through different perspectives. Uytterhoeven focuses on one choreographer, but her scholarship expands outward into a myriad of directions. Her book inspires continued engagement, just as Cherkaoui’s work does. Can individual or social change be ignited after watching a performance? What ignites: the moment of watching or the analysis after viewing the performance? What are the tools of an artist in the twenty-first century? Cherkaoui’s large-scale theatrical productions, with sets and numerous performers and collaborators from all over the world, raise the question: What kind of work is possible, based on the financial support available? Not everyone will immerse themselves in the kind of in-depth, engaged spectatorship that Uytterhoeven advocates, but her strategies can inspire the viewer to go deeper. Her analytic approach is not applicable to choreography, which is not as interdisciplinary, tied to language, or apt to probe territories of “identity, culture, nation, religion and language” (27). Different disciplines will see her scholarship through distinct lenses—the eye of a choreographer, dancer, anthropologist, or dance studies scholar. Uytterhoeven’s interdisciplinary effort mixes different ways of seeing and perceiving, mirroring Cherkaoui’s creativity. Many conversations and lines of inquiry are being birthed. Reading her book may take you down a new path that you did not foresee.

中文翻译：

---

双人舞：由 Julia M. Ritter 编排沉浸式表演。2020.纽约：牛津大学出版社。288 页。41 幅插图。35.00 美元平装本。ISBN：9780190051310。125.00 美元精装本。国际标准书号：9780190051303。

象征和挖掘微观和宏观层面的联系，揭示作品的方方面面。在神话中，一个不稳定的十字架形象——从拐杖到武器，再到十字架——强调了没有什么是固定的。Cherkaoui 的作品提供了肥沃的土壤，足够多孔，可以将自己的主观性注入意义创造过程，在观看和研究之间转换。那些没有看过他作品的人可能会受到启发去现场观看，而乌伊特霍文的书可能会促使看过他作品的人重新审视。鼓励读者思考表演行为：什么存在于当下，什么存在于身体之外的记忆装置中？他们如何相互通知？尽管 Uytterhoeven 不常谈论她观看电影的发自内心的经历，但她反思道：“我意识到我无法解释我对表演中强大部分的强烈情感和身体反应”（114）。现场表演中是否有一种存在于身体中且无法转化的力量？作家和编舞在他们的愿景中都是乌托邦式的。对于 Uytterhoeven 而言，表演后发生的持续的戏剧表演导致了跨文化对话和可能的视角转变，与 Marianne Van Kerkhoeven 的“Grote Dramaturgie”（69）互动，而 Cherkaoui 将运动视为一种具有能力的通用语言。字面上和比喻上在一起。Uytterhoeven 认为运动嵌入在文化观点中（147）。第 3 章阐明了零度和 Sutra（2008 年）的运动和跨文化的普遍性概念的问题。在这两件作品中，Cherkaoui 编排了差异的物理化，即使他试图像“其他人”一样跳舞。在 Babel（与 Damien Jalet 于 2010 年共同编排）中，口语将人们分开，而运动将他们联系在一起。Uytterhoeven 解释说，“对于 Cherkaoui 和 Jalet 来说，来自不同文化的人们可以通过舞蹈和身体锻炼作为一种跨文化的行为来联系，他们认为这是解决语言混乱导致的冲突和误解的解毒剂”（203）。读者可以从不同的角度思考运动的特性。Uytterhoeven 专注于一位编舞，但她的学识扩展到了无数方向。她的书激发了持续的参与，就像切尔卡维的作品一样。观看表演后能否引发个人或社会变革？什么点燃：观看的那一刻或观看表演后的分析？二十一世纪艺术家的工具是什么？Cherkaoui 的大型戏剧作品，包括来自世界各地的布景和众多表演者和合作者，提出了一个问题：基于现有的财政支持，什么样的作品是可能的？不是每个人都会沉浸在 Uytterhoeven 所倡导的那种深度参与的观战中，但她的策略可以激发观众更深入地了解。她的分析方法不适用于编舞，因为编舞既不是跨学科的，也不是与语言联系在一起的，也不是倾向于探索“身份、文化、民族、宗教和语言”的领域（27）。不同的学科将通过不同的视角来看待她的学术——编舞家、舞蹈家、人类学家或舞蹈研究学者的眼睛。Uytterhoeven 的跨学科工作融合了不同的观看和感知方式，反映了 Cherkaoui 的创造力。许多对话和调查线索正在诞生。阅读她的书可能会带你走上一条你没有预见到的新道路。